A strong contender in a crowded field, with clearly delineated instrumental lines (woodwinds, timps and secondary strings come over especially well), a winning orchestral sonority and plenty of expressive phrasing in the slower Dances. Another boon is a recording that achieves impressive perspective when everyone is playing flat-out, for example in Dances Nos. 1, 8, 9 and 15. Kubelik, Talich (Supraphon) and Sejna remain prime musical recommendations, but if fine digital sound is a priority then Belohlavek steals the lead over many of his competitors.'